Thinking in Jazz

by Berliner, Paul F.

  Fake books, 64, 65, 89, 93–94, 775n.4, 780n.46

  Fall-off, 67, 216, 521, 527

  Farmer, Art, 42, 44–45, 47, 59, 78, 95, 105, 116, 118, 124, 131, 159, 160, 162, 169, 172, 178, 181, 202, 209–11, 218, 247, 267, 272, 274, 282–85, 310, 358, 360–61, 366, 372, 376, 395, 396, 398–99, 404, 407, 408, 411, 427, 440, 444–45, 466, 485; musical development of, 25

  Farrell, Joe, 165

  Feather, Leonard, 807n.54

  Feeding ideas to players, 358, 404, 406, 422

  Feeling players, 261–62

  Fender bass, 339

  Field research, 5

  50 Hot Choruses for Cornet, 97

  Figures, 50, 227. See Jazz vocabulary

  Filler material, 246–47

  Fills (melodic), 69–70, 171, 193, 212, 228, 333, 354, 363, 375, 521, 653–54, 709, 710

  Fills (rhythmic), 325, 328, 330–31, 336, 354, 363, 622, 624–27, 651, 665, 678, 679, 689, 692, 712, 728–30, 810n.17, 811n.19, 813n.7

  Fingerings, 53, 55, 66, 107, 112–13, 116–17, 140, 178, 191, 195, 204, 235–36. See also Alternate fingerings

  Fitzgerald, Ella, 103, 126, 130, 136, 204, 459

  “Flamenco Sketches,” 90

  Flanagan, Tommy, 38, 42, 46, 64, 66, 75, 88, 90, 95–96, 105, 116, 123, 139, 143–44, 170, 192–93, 244, 261, 264–66, 270, 275–77, 290, 294, 299, 333, 362, 363, 369, 391, 396, 401, 426, 429, 480

  Flare, 67–68. See also Rip-up

  Flow, 117, 128, 198, 218, 228, 235, 244, 264, 326, 360, 367, 395, 399, 460, 497

  Floyd, Samuel, A., Jr., 13, 804n.23

  “Flyin’ Home,” 781n.9

  “For Adults Only,” 782n.13

  Form (harmonic), 63–64, 74; AABA form, 77, 79, 90–91, 134, 236, 380, 689–92, 779n.39, 815n.32, 822n.35; ABAB’, 77; ABAC form, 77, 709; ABCDE, 90; creative interplay between form and ideas, 222–27, 233–34; early efforts to solo within, 176–80, 792n.12; malleability of, 82–84; chord substitution and, 84–88; tempo fluctuation and, 352. See also Arrangements; Bridge; Blues (harmonic form); Chord progressions; Chord voicings; Chorus designs; Harmony; “Rhythm” bridge; “I Got Rhythm”

  Form (melodic), 6, 63–64, 201–4, 235–37, 262–63, 266–67, 375; AABA form, 66–67; AA’B form, 66, 172, 594; ABA form, 236; ABAC form, 66–67; ABC form, 236. See also Blues (melodic form); Call and response patterns; Chorus designs, solos and

  Formulas, 799n.4. See also Jazz vocabulary

  Foster, Al, 374, 420

  Foster, Frank, 38, 373, 463

  Foster, Pops. 75, 111, 315, 771n.6, 783n.20, 806n.41. 808n.19

  Fournier. Vernel, 342, 462

  Fourths (theoretical construct), 163, 182, 190, 232, 234, 278–81, 334, 344, 361, 491, 792n.18

  Fraser, AI, 4, 13

  “Freddie Freeloader.” 238

  Free jazz. 103, 122, 123, 126, 128, 131, 133, 135, 225–26, 275–81, 291, 292, 311, 313, 329, 337–41, 344, 346, 379, 407, 430, 431, 444, 464, 471–72, 474, 482, 782nn.12, 16

  Free Jazz. 474

  Freeman, Bud, 96, 780n.2, 788nn.7, 11, 821n.33

  Freeman, Von, 109

  French Opera House (New Orleans), 55

  Friedman, Don, 143, 223, 234, 334, 376, 382–83, 384–85

  Front line instruments, 291, 295

  Fruscella, Tony, 135

  Fuller, Curtis, 21, 26, 33, 38–39, 46–47, 54–55, 72–73, 84, 120–21, 140, 172, 175, 176, 184, 212, 214–15, 217, 231–32, 236, 248, 264, 270–71, 279, 295–96, 303, 358, 361–64, 367, 389, 403, 405, 406, 408, 433, 438, 458, 468, 479–80, 482, 493; musical development of, 25, 33

  Funk, 368, 442

  Fusion, as creative process, 88, 138–40, 143; in construction of melodic lines, 186, 188, 212, 335–36, 814n.20; in piano accompaniment, 269

  Fusion, as jazz rock, 31, 34, 122, 276, 292, 338–39, 441–42, 444–45, 488, 500–501; as aspect of musical personality, 34–35, 116–18, 138–41, 278, 419, 462–63, 487–88; as other stylistic amalgams in jazz, 292, 339–43, 368, 487–91, 500–501, 814n.20

  Garland, Red. 309, 334, 335, 342, 384, 537, 629, 642, 665, 669, 812n.34

  Gamer, Erroll. 334–35, 342

  Garrison, Jimmy, 131, 316, 338, 376

  Gates, Henry Louis, Jr., 804n.23, 824n.14

  Gender, and jazz, 55, 255, 258, 811n.23, 816n.9, 822n.36

  Genealogies, musical, 36, 57, 124, 130–34, 136–38

  Generic improvisers, 273–74

  Gensel, John, 459

  Getz, Stan, 47, 457–58, 772n.11

  Ghosting (pitches), 67, 156, 213, 316

  “Giant Steps,” 79, 80, 90, 98, 203, 223, 232–33, 238, 399

  Gigs, 44, 47. See also Economic factors; Nightclubs; Performance venues

  Gillespie, Dizzy, 4, 29, 31, 47–49, 87, 88, 96, 109, 115, 122, 124, 127, 130, 136, 140, 149, 158, 161, 168, 169, 201, 204, 212, 247, 249, 253, 259, 262, 269, 276, 281–82, 291, 295, 297, 302, 311, 342, 343, 370, 381, 382, 444, 445, 462, 490, 773n.14, 778n.21, 783n.20, 788n.11, 789nn.20, 22, 24, 808n.17, 816n.5, 819n.18

  Gilmore, John, 303

  Gioia, Ted, 803n.33

  Giudice, Joe, 70, 86, 272–73

  Glissando, 67–68, 108, 228, 322, 463

  “God Bless the Child,” 203

  Goetschius, Percy, 73

  Golson, Benny, 91, 231, 256, 297, 307, 385, 669, 780n.44, 807n.59

  Gomez, Eddie, 382

  Goodman, Benny, 305

  Gordon, Dexter, 136, 203, 295, 424–25

  Gordon, Franklin, 384, 388

  Gordon, Max, 453

  Gospel music. See Church, influence of

  Gotham Music Service, 98

  Grace notes, 67, 69, 183, 213, 521, 527, 679, 710

  Granz, Norman, 822n.41

  Gray, Larry, 75, 197, 223–24, 316–18, 334, 354, 384, 391, 817n.2

  Green, Freddie, 360, 409

  Green, Urbie, 140

  Greenblatt, Daniel, 794n.1, 796n.10, 818n.10

  Griffin, Johnny, 351–52, 438, 443

  Groove, 349–52, 350, 355, 373–74, 380, 382, 388–89, 402, 405, 408, 413, 428, 456, 465, 467, 709, 712, 812n.2. See also Beat; Rhythm

  Group interplay, 11, 81, 93–94, 111, 170–71, 219, 294–95, 303, 319–20, 324, 326, 328, 331–33, 335, 337–38, 341–49, 368, 383–86, 413–15, 436–37, 672; circumstantial performance problems in, 411–13; cues in, 311–12, 365–67, 374–75, 384, 425–27, 815n.27; deficient musicianship and, 395–99, 403–6, 409–10, 816n.10; different jazz idioms and, 406–9; high points in, 362, 388–95, 413–14, 467–68, 470, 816n.2, 823n.12; emotional impact of, 391–95; errors in, 379–83; evaluation of, 49, 330–31, 387–91; hall acoustics and, 450, 470; inattentiveness and, 399–401; inexperience and, 401–3; interplay between soloist and rhythm section, 351–52, 358–62, 421, 813nn.7, 8, 814n.22; interplay within rhythm section, 350–58; interpreting ideas and, 362–68, 390–91, 402–3, 424, 813n.12, 816n.8; melodic–harmonic interplay, 646; melodic interplay, 653–54; melodic–rhythmic interplay, 361, 648, 664; musical personality and, 427–31; musical saves in, 382–83; order of soloists and, 311, 369; rhythm section responses to criticism, 409–11, 817n.11; shaping the larger performance, 368–74; surprises in, 374–79, 815n.27. See also Arrangements; Audiences; Bands; Groove; Imitating ideas; Metaphors; Musical conversation; Structural Markers

  Group performance. See Group interplay

  Groups. See Bands; Group interplay

  Gryce, Gigi, 73

  Guitar, 34, 72, 75, 115–16, 131, 139, 159, 170, 172, 190–91, 236, 347, 283–84, 390, 409, 463, 490, 811n.23, 814n.25

  Guru, 500

  Gushee, Lawrence, 13, 785n.10, 797nn.22, 25, 799n.4, 800nn.6, 12, 806n.39, 808n.17

  Gutbucket techniques, 256–57, 398

  Hackett, Bobby, 91, 98–99, 105

  Haden, Charlie, 131

  Haggart, Bob, 107, 182

  Haig, AI, 133, 334

  Hall, Jim, 798n.38, 801n.13, 806n.38

  Ham bone, 22

  Hampton, Lionel, 47, 781n.9

  Hancock, Herbie, 12
4, 133, 143, 250, 275, 335, 340, 341, 379, 382, 391, 422, 633, 676, 781n.11

  Hand drums, 219, 292, 299, 310, 324, 444, 818n.2

  Handy, William (w. C.), 55, 257, 784n.36

  Hanging out, 37–39, 73, 86, 109

  Hanna, Roland, 365

  Hard bop, 7, 122, 126–28, 275, 276, 279, 297, 326–27, 336–37, 346, 426, 431, 444

  Hardin, Wilbur, 147

  Hargreaves, David J., 798n.39, 803n.33

  “Harlem Air Shaft,” 487

  Harmonic alteration (chord substitution), 84, 85

  Harmonic counterpoint, 367. See also Harmonic syncopation

  Harmonic insertion (chord substitution). See Chord insertions

  Harmonic rhythm, 63, 75, 81, 85, 90–91, 178, 224, 232–33, 315, 317

  Harmonics, 131

  Harmonic syncopation, 198, 789n.23, 797n.19

  Harmonic synonyms, 184–85, 195, 595, 793n.20

  Harmony, 146; arrangements and, 293–94, 296, 298–99, 304, 306; compositions and, 63, 68, 70, 71–94, 76, 77, 80, 228, 778nn.20, 22, 23; evaluating harmonic features of compositions, 89; evaluating harmonic features of solos, 250–53, 803n.8; group challenges and conflicts over, 380, 382–83, 398–99, 402, 404, 406, 410, 412; interpretation within groups, 317–24, 328–30, 332–35, 339–40, 356–57, 360–61, 366–67, 372–73, 376, 384, 390, 508–10, 533–39, 607–16, 622–24, 629–36, 641–48, 660–63, 675–76; learners’ development and, 53, 71–74, 75–84, 86–90, 92–94, 778nn.20–23; music theory and, 72–74, 159–69, 182–83, 207–8, 210, 778nn.22, 23; solos and, 90, 104–5, 110, 113, 128–29, 136, 143, 159–62, 165–68, 170–71, 173–80, 182–85, 187, 189, 195–99, 210–12, 222–28, 231–36, 248–49, 791n.9. See also Form (harmonic); Chord progressions; Chord voicings; Music theory

  Harrell, Tom, 394

  Harris, Barry, 10, 22, 37–39, 41, 46, 51, 54, 55, 57, 58, 65, 69, 78, 87, 108, 111, 121, 123, 127, 146, 161, 174, 180, 183, 200, 204, 219, 227, 244, 246–49, 251, 254, 270, 278, 281, 298, 308, 311, 344, 381, 388, 393, 395, 400, 406, 426, 442, 462, 467, 863, 470–71, 494, 502, 555, 770n.11, 773n.15, 812n.39; workshops with, 109–10, 112, 114, 117–18, 150, 154, 155, 163, 165–68, 175, 177, 182, 188, 194, 199, 215–16, 228, 248–49, 251, 264, 265, 267, 483, 490

  Harris, Benny, 779n.38

  Harris, Eddie, 48, 90, 160, 163, 344, 428

  Hart, Billy, 364, 373, 420, 440

  Hart, Clyde, 86

  Hawkins, Coleman, 48, 97, 123, 125, 128, 129, 162, 270, 275, 292, 339, 444, 479, 771nn.3, 4, 789n.23, 802n.30, 812nn.36, 39

  Hawkins, Erskine, 98

  Hayes, Edgar, 808n.17

  Hayes, Louis, 443

  Haynes, Roy, 176, 284, 331, 353–54, 359, 366, 373, 375, 379–80, 385, 469

  Head, 63, 93. See Melody, compositions and

  Head arrangements, 64, 290, 301, 305, 678, 728, 809n.35

  Heath, Jimmy, 269, 772n.2, 787n.37

  Heath, Percy, 107, 259, 323, 420, 607, 772n.2

  Hemphill, Julius, 355

  Henderson, Fletcher, 291, 312–13

  Henderson, Horace, 781n.9

  Henderson, Joe, 91, 226, 293

  Henderson, Leora, 109

  Hentoff, Nat, 4

  “Here’s That Rainy Day,” 398–99

  Hersch, Fred, 32, 52, 79, 89, 90, 116, 117, 123, 132, 143, 151, 152, 156–57, 173, 175, 181, 204, 207, 217, 231, 233, 245, 265, 266, 294, 345, 361, 364–66, 387, 390, 410, 420, 427–29, 435

  Hicks, John, 56, 65, 75, 78, 88, 90, 100, 118, 125, 160, 234, 274, 293–96, 301, 303, 306–10, 330, 354, 355, 368–69, 377, 397, 405, 406, 445, 486

  Higgins, Patience, 6, 180

  Hi-hat, 148, 298–99, 310, 324–28, 330–31, 336, 341, 350, 353, 355, 358, 364, 407, 617, 620, 622, 627, 651, 678, 689, 728

  Hill, Calvin, 1, 37, 39–40, 65, 151, 276, 298, 299, 321, 345, 350–51, 353–55, 363, 365, 370, 378, 396, 418, 419, 427, 434, 438, 443, 490

  Hill, Teddy, 343

  Hillyer, Lonnie, 22, 28, 38–39, 40, 43, 47, 50, 57, 58, 65–67, 69, 71, 73, 126, 127, 136, 138, 139, 167, 172, 173, 177, 184, 192, 194, 200, 206, 256–57, 261, 264, 282, 290, 301, 308, 339–40, 358, 360, 361, 368, 371, 377–78, 380, 397, 399, 404, 422, 433, 434, 440, 465, 485, 503; musical development of, 28

  Hindemith, Paul, 73

  Hines, Earl, 116, 132, 140, 292, 444, 772n.9, 787n.39, 820n.26

  Hinton, Milt, 281–82, 322

  Hip-hop, 500

  Hodges, Johnny 62, 68, 125

  Holiday, Billie, 126, 170, 244, 261, 305, 309, 445, 474, 780n.47, 791n.2, 821n.32

  Holland, Dave, 131

  “Honeysuckle Rose,” 78, 89

  “Honky Tonk Bud,” 500

  Horizontal concept, 105, 128–29, 134, 197–98, 277, 317, 354, 547, 544, 785n.9. See also Linear concept

  Horn players, 67–69, 72, 107–8, 110–11, 117, 171, 175, 209, 297, 299, 370, 461, 783n.22

  Hot jazz, 109, 177, 315, 790n.25, 806n.41

  “How Are Things in Glocca Morra?” 368

  “How High the Moon,” 134, 779n.38

  Hubbard, Freddie, 109, 136, 224, 225, 228, 283, 438

  Hudgins, Johnny, 816n.5

  Humor. See Musical jokes

  Hutcherson, Bobby, 91, 160, 293, 294, 297, 302, 312, 361

  Hyman, Joe, 160

  Hymns, 23, 148. See also Church, influence of

  Ibrahim, Abdullah, 218, 490, 824n.23

  “I Can Dream, Can’t I?” 239

  “I Can’t Get Started,” 78, 88, 269

  Ideas, 102, 115, 230, 167–69, 181–83, 185–86, 222–27, 248, 262–63, 274–76, 362, 470, 475, 782nn.12, 13, 793n.21, 795n.15, 800n.7. See also Chains of ideas; Jazz vocabulary

  “I Didn’t Know What Time it Was,” 427

  Idioms Gazz), 108–9, 122–23, 128, 130–34, 144, 151, 164, 196, 263, 273–81, 284, 471–72, 491, 500–501, 807n.54; accommodating stylistic changes and, 276–81, 807n.54; accompaniment conventions and, 315, 324–27, 336–43, 357, 401, 406–8, 420, 429–30, 437, 443–44; arrangements and, 291–92, 311–13, 347; band instrumentation and, 345–47, 443–45; characteristic phrases and, 102; fusion of, 339–41, 812n.30, 814n.20; limitations of stylistic labels and, 278, 280, 341; record companies and, 482; repertory and, 343–45; theoretical models and, 159–65, 252. See also Bebop; Boogie-woogie; Cool jazz; Dixieland jazz; Free jazz; Fusion, as jazz rock; Hard bop; Modal jazz; New Orleans jazz; Ragtime; Stride piano; Swing (idiom); Third stream jazz; Western style jazz

  “I Got Rhythm,” 65, 76–79, 87, 89, 206, 226, 232, 246, 293, 427, 472, 817n.2

  “I Loves You, Porgy,” 78

  “I Love You,” 238

  “I’m in a Sentimental Mood,” 203

  Imitating ideas (in performance), 51, 81, 99, 108, 111, 136–39, 219, 257, 278, 320, 349, 355–60, 362, 364, 367–72, 375, 384–85, 403, 813nn.7, 8; criticism of, 403, 426–27

  Imitation (stage of development), 120–21, 136, 273–74

  Improvisation, 6–7, 13, 16, 70–71, 102, 146, 156, 170–71, 205–7, 216–20, 262–63, 294–95, 313, 320–21, 338, 346, 411–13, 430–31, 459, 485–86, 555, 773n.18; the body and, 208–9; chords as basis for, 159–61; combined approaches in, 233–37, 800n.12, 801n.13; as composition, 221, 241, 492–94, 496–98, 824n.14; creativity and, 138–42, 216–20, 253–55, 263, 787nn.36, 37, 39, 798nn.38, 39; definitions of, 1–2, 4, 221–22, 253, 795n.4; as distinct from written composition, 496–97, 795n.4, 806n.39; early ability and, 31, 71, 772n.9; emotion and, 202–4, 797n.27; flexibility and, 188–89; group interplay and, 369–71, 388–92, 494–95, 823n.12; harmony and, 222–27, 262–63; inner dialogue and, 176, 192–95, 795n.5, 798n.31; intervals as models and, 163–64; invention and, 142–45, 240–41, 787n.41; maintaining skills, 494–95; misconceptions of, 1–2, 6, 16–17, 71, 492, 773n.18, 776n.9; mistakes and, 209–16, 379–83, 798n.35; musical personality and, 135–38; music theory and, 179–80, 252; mystique of, 1–2, 219, 798n.39; players’ world of consciousness and, 206–7, 216–20,, 348–49, 453, 795n.5, 798nn.31, 38, 39, 819n.13; practicing and, 170–75,
791nn.2, 4, 10; repertory and, 205–6; scales as basis for, 161–62; singing and, 171, 180–81, 792n.16; sources of, 487–88; stylistic changes and, 276–81, 807n.54; stylistic fusion and, 339–41, 812n.30; technical skill and, 259–61; varied expression and, 265–66; various musical models and, 146, 165–67, 171–75, 181–83, 204, 221–27, 237–40, 271, 791n.10, 792nn.17, 18,. 793n.19, 797n.29, 801nn.19, 25, 802nn.26, 28. See also Composition, improvisation as; Evaluation (group interplay); Evaluation (soloing ability); Music theory, aural ideas and; Soloists; Timing

  Improvisation, precomposition and, 221–22, 227, 240–42, 263, 267–73, 283, 289, 292, 299, 323–24, 383–86, 391, 474–75, 492–98, 653–54, 664, 800n.8, 801n.25, 802nn.28, 30–32, 803n.33, 806n.1, 815nn.38, 39, 820n.22; inferring models in, 237–40, 801nn.19, 25, 802nn.26, 28; interplay between compositions and ideas, 222–27; licks and, 227–30, 799n.4, 800nn.5–7; strategies for individual pieces, 230–33; use of different improvisation approaches, 233–37, 800n.12, 801n.13

  Inadvertent variants, 83, 141, 215, 230, 245

  Inattentiveness, performance and, 399–401, 466

  Independent labels (recordings), 477–78, 483, 820n.24, 822n.42

  “In De Ruff,” 781n.9, 802n.28

  “Indiana,” 78

  Indian music, jazz and, 292, 324, 816n.3, 500

  Inner dialogue, of improviser, 176, 192–95, 206–7, 211, 213–14, 217, 243, 263, 271, 348, 798n.31

  Inner voices, of harmonic structures, 71, 86, 90, 323, 709

  Innovation (stage of development), 120, 273, 275–76, 280, 367. See also Creativity

  Insertion. See Chord insertions

  Inside, 308–9

  Inside playing, 76, 129, 157, 159–60, 198, 225, 250, 319, 340

  Instrumental techniques, 27, 50–51, 55, 66–69, 106–8, 114–19, 125–26, 128–31, 133, 865, 140, 169, 256–57, 259–62, 272, 278–79, 283, 294, 298, 315–16, 329–30, 362, 436, 442–43, 787n.41, 806n.5; idiosyncratic, 69, 118, 124, 127–31, 284, 322, 326–28, 331–32, 784n.36, 785n.10, 786n.15, 812n.36; liabilities to creativity, 409–10. See also Alternate fingerings; Body, improvisation and; Fingerings; Musical personality

  Instrumentation, 291–92, 298–300, 338–39, 443–45, 500–501; nightclubs and, 454–55; recording sessions and, 475, 811n.23, 820n.23, rhythm section and, 345–47, 812n.39. See also Arrangements

  Instruments: effects on improvisation, 107, 130, 135, 139–41, 143–44, 169, 176, 190–91, 208–10, 213, 228, 249, 371, 450, 454–55, 497, 785n.10, 791n.9; evaluation and, 259–61, 803n.6; learners’ development and, 114–17; mastery of, 114–17, 259–62. See also Body, improvisation and